“Fletcher’s of Collins Street” : Melbourne’s Leading Nineteenth-Century Art Dealer, Alexander Fletcher (1837– 1914) “Fletcher’s of Collins Street”: Melbourne’s Leading Nineteenth-Century Art Dealer, Alexander Fletcher Collins Street in the 1880s was the hub of the art trade in Melbourne, with an ever-expanding population of art galleries and artists’ studios. What Pickersgill’s Victorian Railways Tourist’s Guide of 1885 calls “the most fashionable thoroughfare in the city” extended for a mile up the hill from Spencer Street Railway Station in the west to Treasury in Spring Street to the east. The heart of the fashionable retail trade in Collins Street in the 1880s, as it still is today, was in the middle section formerly known as “The Block”, between Swanston and Elizabeth Streets. Here shoppers once browsed the fancy window displays of drapers, milliners, coiffeurs, tailors and music dealers, and beyond them, those of several art dealers. As a journalist from the Melbourne periodical Bohemia remarked in late 1890 “one can generally find a picture in the Collins Street windows worth looking at.”[1] In the late 1880s and early 1890s, Collins Street east (that is, east of the General Post Office), stretching from The Block to the genteel doctors’ quarter of upper Collins Street, was where many leading artists had their studios. Among them were the purpose-built 1887 studios in Grosvenor Chambers occupied by Tom Roberts, Fred McCubbin, and others (the building may still be seen but the studios were thoughtlessly destroyed in the 1970s).[2] In May 1888, eighteen, or just under one- third of the artists in the Victorian Artists’ Society had studio addresses in Collins Street east. New studios at the top end continued to open up in the 1890s, such as those in the Austral Buildings in 1891 occupied by the portrait painter C. Gordon-Frazer and the landscapist John Mather. Ugo Catani and Girolamo Nerli bucked the trend by having their studio in Collins Street west.[3] Artists' studios were a venue for exhibitions, art classes and private sales. Some artists even invited the public to drop in while they were working. Pickersgill recommends a visit to the sculptor J. S. Mackennal's studio at 198 Collins St east, where one would usually find "some large or otherwise interesting piece of work in progress, which he is always glad to show to artistic visitors."(p. 49) “Fletcher’s of Collins Street” : Melbourne’s Leading Nineteenth-Century Art Dealer, Alexander Fletcher (1837– 1914) Art dealers James W. Hines and George Powis had established a presence in Collins Street as early as 1868. Hines outlasted his rival, Powis, and was still selling miscellaneous watercolours, statuary and old violins from a “large and handsomely-fitted room” at 105 Collins St east between 1884 and 1886 (p. 49). In the 1870s there was little rise and much fluctuation in the numbers of dealers from this base, but from the mid 1880s there was a definite boom, rising to a peak in 1888.[4] In 1884, a Mr Freeman opened his gallery, specialising in Roman and Neapolitan artists, at no. 95, also the address of painter George Ashton’s studio in 1888. Walking up the hill from Freeman’s, one would soon come across Fletcher’s Art Gallery at no. 87 and, drawing closer to Spring Street, Isaac Whitehead’s Gallery of Art and picture frame manufactory at no. 78. Whitehead’s gallery represented the private collection of this well-known frame-maker, which the public could inspect only on application (p. 49). The west end of Collins Street, downhill from the GPO, dominated by offices and vast warehouses for goods in the 1880s, also contained a couple of the new galleries (p. 43). Henry Wallis’s establishment, a colonial offshoot of Wallis’s French Gallery in London’s Pall Mall, opened in 1884 at Imperial Chambers at 77 Collins St, an address he shared for a time with Madame Mouchette’s studio and painting school for young ladies. Not far away was another dealer, Henry Steinhauer Gibbs, who first appears in 1885 as an “importer of high class pictures” at 64 Temple Court, Collins St, but who had moved to Excelsior Chambers, Elizabeth St, by early 1886. Both sold 'Continental' and British paintings.[5] It is surprising to find how little is written about the brief efflorescence of these nineteenth-century Melbourne art dealerships (or their counterparts interstate, for that matter). Detail in the secondary literature is scant, and there are no biographical profiles.[6] Perhaps one reason for this neglect is that even at the time the more modest trade of the local dealers was eclipsed by the high-priced art displayed at visiting exhibitions, including the Great Melbourne Exhibitions of 1880 and 1888. Most of these prestigious ephemeral shows were staged by London dealers and societies eager to capitalise on business opportunities in a boom town. They included the Anglo-Australian Society of Artists exhibition at Fletcher’s in 1885 and its royal successor at the Exhibition Building in 1890, and an exhibition of modern British works staged by London’s famous Grosvenor Gallery at the Public “Fletcher’s of Collins Street” : Melbourne’s Leading Nineteenth-Century Art Dealer, Alexander Fletcher (1837– 1914) Library in 1887. Koekkeok’s of Pall Mall also brought out several notable exhibitions of English, Dutch, French and Italian paintings between 1885 and 1891. Wallis, as mentioned, set up shop in Collins Street for a time in the mid-1880s and Koekkoek’s rather belatedly set up a short-lived branch in Collins Street in 1890. Little is known about the intercolonial trade of dealers, but at least one made his presence known in Melbourne in the 1880s; E. J. Wivell of the Adelaide Art Gallery on North Terrace held a fine art sale at the Athenaeum in Collins Street around 1883, in which the prize exhibit was William Strutt’s Black Thursday.[7] The backbone of the art trade, however, was the permanent art dealerships, and the most prominent among these was Fletcher’s of Collins Street. This article presents details of Fletcher’s business for the first time, and makes a case that he was Melbourne’s leading art dealer at the time of the nineteenth-century art market peak in the 1880s, before his business collapsed in the depression of the 1890s. Photographer in New Zealand: 1860s Alexander Fletcher (1837 – 1914), who was born in Scotland, immigrated first to Nelson in New Zealand as a 24 year old, accompanied by his mother and her second husband. On arrival, Fletcher immediately rented a house and set up in business. An advertisement in the Nelson Examiner in December 1861 reads “A. Fletcher, Photographer, Bronti-Street, Next house to Captain Walmsley’s, Babies Photographed”. A willingness to photograph babies must have been a good ploy to earn new custom, because Fletcher was soon the owner of a shop-studio, the “Nelson Photographic Rooms”, one of four photographic businesses servicing the town of 4-5000 people.[8] Fletcher’s bread-and-butter work was carte-de-visite portraits. An astonishing 750 of his glass plate negatives for these have survived, left behind for the use of the photographer who took over his business when he left Nelson in 1870. Fletcher’s personal ambitions, however, were more artistic. [9] He successfully exhibited photographs of Nelson at the New Zealand Exhibition in Dunedin in 1865 and at the Intercolonial Exhibition of Australasia, held in Melbourne in the summer of 1866- 7.[10] Unfortunately, all of his prize-winning landscape and stereoscopic views have vanished, “Fletcher’s of Collins Street” : Melbourne’s Leading Nineteenth-Century Art Dealer, Alexander Fletcher (1837– 1914) making it difficult to assess his talents as an artist-photographer. For Fletcher, the photographic business seems to have been a stepping-stone, because in 1867 he made a trip to Europe "in order to enlarge his experience and come personally into contact with artists and art dealers."[11] Who these were, and the precise length of his trip, is a mystery. It is unclear whether Fletcher was back in Nelson when his mother died in October 1868, but he was definitely back by late 1870, when a good deal of activity is recorded as Fletcher made preparations to leave the colony for good. After tying up his business affairs, and being suitably feted by the town in farewell, Fletcher married Catherine Reid McGee, the twenty-year old daughter of the publican of McGee’s Nelson Hotel, and promptly departed for Melbourne by steamer the next day.[12] Framer and Picture Restorer in Melbourne: 1870s While the gold-rich, rapidly-growing metropolis of Melbourne was clearly a more promising place than Nelson, for Fletcher to realize his ambitions as a fine art dealer and importer, the evidence is that he had to start off small, as a humble framer, gilder, and picture restorer. It took the best part of the decade to build up the more prestigious side of the trade. Fletcher and Catherine reappear in Melbourne in 1871, awaiting the birth of the first of their seven children, and living in the inner-city suburb of Emerald Hill (South Melbourne), where they are listed at various addresses up to 1883. Fletcher’s business is registered from 1871 at 116 Elizabeth Street as a carver, gilder and picture-frame maker. After seven years, the business moved to Collins Street and began to turn over its premises remarkably frequently. Between 1877, when Fletcher’s Art Gallery vacated Elizabeth Street, and 1893, he moved no less than eight different times within Collins Street, even without counting the additional Eastern Market address in Bourke Street that he used in some years in the 1880s.